#based on the thing we talked about?

[aalghul]

once again thinking about jason as duke’s robin. he’s ~4 years younger than jason, and that puts him at 8-12 during Jason’s time as robin. that’s prime time to get attached to your local kid vigilante before your own life goes downhill.

and if we try to keep duke’s meeting with bruce in zero year + duke’s age (so he can remember the meeting and hold that conversation with bruce), he has to be around 8. if he starts following batman through the news at that time because of the mess that just happened, the robin he sees is probably jason. I’ve literally connected the dots

[dkettchen]

she would've told them unlike her canon! version who decided not to be an ally smh

[hotdrinks]

U know I just think if you have a favorite character you also have to love the worst things about them bc it's integral to everything they do and makes the good they do more meaningful and makes them so sexy and cool

[mbirnsings-71]

Hello... I've fallen into the void send help-

[hijinxinprogress]

Whenever the JL starts complaining about YJs public image YJ just straight up gaslights them

[mrgladstonegander]

[daily-odile]

Odile patting Molly Epithet Erased on the head, you know why

have two bc i care them

[loosethreadsofyoursoul]

ok this is a controversial opinion but like….. to me, henry spencer was actually not a shit father….. hear me out.

i understand that there’s a lot of subtleties that go into emotionally abusive parents, and i’m not trying to dismiss that, but honestly i just don’t see all the negativity that gets associated with him so often. also, between henry and madeleine, one parent actually seemed to be there when shawn was growing up, and it wasn’t his mother.

let’s look at shawn’s childhood. in all the flashbacks, henry was the one who volunteered at shawn’s school, who took him to movies and was around for all of his new hobbies and interests. he was the one making sure shawn did his homework and hung out with his friends and learned life lessons. granted, some of his teaching methods were not appropriate for a kid shawn’s age, so yes i can see where the criticisms come in and i agree with them. but he was so much more than his mistakes, he was the parent who cared.

when shawn grows up, yes there’s animosity between him and his father but to be quite honest, i’ve never met one person who doesn’t have unresolved daddy issues so that in itself doesn’t condemn henry in my mind. we see how much henry saved from shawn’s childhood and how much he remembers, and to me he actually does quite a bit to help shawn when he needs it. this is particularly telling in comparison to madeleine, who isn’t there to begin with and eventually we find out she really did leave her kid behind, and to me that does a lot more damage than any one thing henry did.

shawn and henry have issues, i won’t argue with that. but i really don’t think henry gets enough credit for the good he did and the way he tried when shawn got older. above all else, he was there and he was there for shawn, and that’s important. god knows it’s not everything, but it’s something.

[hanamukes]

To feel saved by your words (Taki and Uika)

While I believe you could compile endless comparisons between any two members of MyGO and Ave Mujica, something that's been on my mind a lot recently are the similarities found between Taki and Uika. Tomori and Sakiko are the ones who pull the story along, but I think Taki and Uika both hold a similar position within the contexts of their relationships with them that warrants a closer look.

This isn't a "complete" and cohesive analysis, so much as a collection of observations I've made as I've been combing through Uika's scenes again lately.

Small disclaimer, but given that Uika as we know her exists in approximately 10 minutes of It's MyGO footage, a lot of this will be my own interpretation of her few existing scenes. Your mileage may vary! I analyze Uika a bit more than Taki here, but this is simply because I honestly feel as if Taki's writing is more blunt and explicit―to "analyze" her almost feels more like a summary of the events and dialogue, whereas with Uika, all we can do is piece together the small crumbs that we have.

To start, I want to talk a little bit about their positions in their respective bands. In ways, they feel similar, but in many more ways, they feel completely different.

Uika is not the "leader" of Ave Mujica in any sense of the word. Sakiko is―Uika is figuratively and literally a puppet Sakiko is playing with. However, she is the "protagonist" of Ave Mujica's stage plays. This is an important distinction to make because while Uika is not the one pulling the strings as we've seen proven in the anime, it's not entirely unfounded for anyone to claim that she may have a special position within the context of the band (even ignoring the fact that vocalists tend to be the "face" of the band which many misconstrue to mean they are the leader).

Taki is an interesting case because she's not the front and center of her band, nor does she have "protagonist" traits, nor does she have something that draws people to her―but nonetheless, through her hard work alone, she has become the primary force that keeps MyGO held together (even if it, at times, feels like duct tape).

I like this distinction between them. Uika gets her special little place just by being popular and having had past connections with Sakiko, while Taki affirms hers by working harder than any one person would have to in order to keep a band together. One of them gets what they want with sheer luck alone, while the other must cling to this band as if it's the last thing she'll ever get the grace of doing.

Though, just what do Tomori and Sakiko mean to Taki and Uika?

Tomori's words save Taki and let her breathe, while if we're to interpret the Ave Mujica doll lore shown in their concerts as applying to their actresses, Doloris repeatedly talks about having a special somebody who accepts her for who she really is deep down, and how she wants to stay alone with them for an eternity―perhaps this is a hint as to how Uika views Sakiko (which has some support in the anime, as I think Sakiko's message to Uika has more to it than meets the eye).

I think there's something to be said about how Taki and Uika seem unhappy with their circumstances (Taki lives her life compared to her sister, while one of Uika's only solo scenes being her dropping the happy idol facade is telling to me), but it's Tomori and Sakiko's words that save them. For Taki, this is Tomori's songs (specifically Haruhikage), for Uika, this takes form in rereading Sakiko's consoling message from her idol debut over and over.

Notably with Taki, this is the happiest we ever see her! Tomori and Sakiko's words save them, and it's absolutely written all over their faces. It's not subtle at all.

Also, how we're (formally) introduced to both characters is in the context of their respective separation with Tomori and Sakiko: Taki is yelling at Anon for scaring Tomori away (after she finally found her again) while this text message scene is Uika's.

Now, separation is of course a huge theme with these bands in general, so what makes their examples special?

Where I think they differ from the others is in the way they approach these separations. Here's the thing: in a way, Taki feels as if her life purpose hinges on being around Tomori, but despite this, she never tracked her down in her absence. Uika always pulls out Sakiko's comforting message to her, so much to the point that she can recite it word for word on the fly, and yet despite having her phone number, she never messaged her. We can see the last message sent between Uika and Sakiko was that conversation from a year ago, and this has to be deliberate.

She probably wants nothing more than to see Sakiko again (when Sakiko calls her in episode 7, she literally blushes and shifts her hair in excitement about it, and I will also mention the director implied the reason she goes to the planetarium is because it reminds her of the stargazing she did on the island with Sakiko), and yet she respects Sakiko to be the one to take that step in contacting her first.

This is also something prevalent with Taki: Soyo exists as proof that if she really wanted to, she could have stalked or harassed Tomori into getting her back in her life, but instead she was patient. She valued Tomori needing space. She put Tomori's feelings above and before her own.

There's just this level of yearning behind their words and actions―of wanting someone in your life so badly, of thinking about them every single day, of looking back at all of your memories together and hoping and praying for the day they will reach out to you once more but not taking that first step yourself out of modesty for your own feelings―that I think separates them from the others. (Ironically, the closest that comes to this is actually Tomori herself but in regards to Sakiko.)

Another big theme they share is that they're rather open with their affection for Tomori/Sakiko, but the way they convey those feelings isn't always interpreted the way they intended for it to be.

(One could perhaps interpret Sakiko's reaction here as embarrassment, and I do think this is a part of it, but given this is the one interaction she's had this series that isn't someone trying to dox her or begging her to be with them, I think she'd be well within her rights to be confused at why Uika's also so obsessively fixated on her.)

Taki falls more under the "awkward" umbrella than Uika (so I'm not about to insinuate I think this will be as common with Uika and Sakiko going forward as it has been for Taki and Tomori), but they both share this trait of "I want to express how much you mean to me" and it being met with confusion.

The way they respond to said rejection is similar as well.

(This anime is very good at expression via a character's eyes alone, and I think this is conveyed really well with both Taki and Uika.)

And of course, because their intent was never to hurt and rather was the opposite (to cherish), they're not afraid to apologize, no matter how "insignificant" their offense may have been.

(The framing on these shots fascinates me, as if the camera needs to zoom out to capture the recipient of the apology in the frame in order for it to land.)

Everything is with Tomori/Sakiko's best interest in mind, but sometimes, just your thoughts and feelings isn't enough. You need to convey those feelings appropriately to the person you're saying them to, and Tomori/Sakiko are of course not the world's easiest people to get through to.

I think on the surface, Uika is presented to us as a character who Taki could aspire to be like. She's calm, collected, and she's able to get through to Tomori as a fellow vocalist. What was that planetarium scene for if not to point out that Uika could present herself as a threat to Taki? But on the other hand, we've seen Sakiko shut Uika down twice already; it's not like her one moment with Tomori makes her better than Taki at communicating with the one she cherishes most, even if she seems more sociable. Tomori is even a bit weirded out that Uika called her by name despite her never telling it to her. When you get down to it and look past their exteriors, they have the same struggles at hand.

Speaking of Sakiko's rejection of Uika, this brings me to what I believe is the most striking parallel between their scenes.

The last episode is fascinating because one of the two examples of Sakiko shutting down Uika is when Uika asks if she can go home with her on the train. We know this is something Taki does with Tomori as well, but that's not what I want to point out here (though that's also noteworthy in its own way):

Earlier in that same episode, Taki was also rejected when she wanted to walk Tomori home! The reasons of course differ (Soyo wanted to talk with Tomori so it's not as if Tomori herself rejected Taki, while I get the impression that at this point Uika still doesn't know of Sakiko's home situation which seems to be the real reason Sakiko said no fun side note though: a Sumimi commercial is very much on screen in the following frame of Sakiko on the train), but the framing of both scenes is very similar, and I honestly find this hard to ignore. The Taki one of course makes sense as it's a well-established thing between her and Tomori to ride the train home together, but Uika had no reason to ask to go home with Sakiko on the train. She got to the venue in a cab just fine! It feels very deliberate to me to have both of these happen in the same episode and to also put narrative weight on both moments as well. When I saw the Taki scene, I thought "Huh, so we're just not getting Taki closure?" and while the Uika scene was too late in the episode for me to really expect an actual scene even had Sakiko said yes, they're similar in that both of these scenes work to set up future developments in the sequel. We're still owed the closure Soyo pulling Tomori away from Taki robbed us from, and we're owed seeing Uika learn about Sakiko's home life.

Something else that I think about often is how Taki and Uika are involved in the songwriting process for their respective bands:

Taki and Sakiko are composers while Tomori and Uika are lyricists

Sakiko and Uika both read Tomori's poetry/ventings in her notebook and attribute it to being lyrical. (Taki does as well but this isn't a discovery she makes through having a one-to-one with Tomori)

Sakiko and Taki both feel inspired by Tomori's writing and do whatever they can to make compositions fitting for her words

While we don't know much about the Ave Mujica songwriting process as of yet, one of the interviews confirms that Uika does the lyrics for Ave Mujica songs. This leaves a lot to be considered regarding 1. why Sakiko wanted her for her band 2. what Sakiko would see in her writing and if it's comparable to how she feels reading Tomori's writing (as a note here: Tomori's writing makes her human, while Uika's writing turns her into a monster), and 3. Uika writes to other people's ideas, but she still feels as though singing is something that conveys her heart to others

Those are some general observations I have regarding this. To both Taki and Uika, they want to see out Tomori/Sakiko's musical ambitions, and they pour their heart into what they do. Of course all the band members are doing this (by playing their respective instruments, and Raana does contribute to MyGO songs in her own ways), but these two go above and beyond in their motivations.

As a much more subtle thing, I want to point out something interesting It's MyGO did: the various Sumimi shills throughout the series that happen during major scenes where characters are trying to communicate how they want to reconcile moving forward. Honestly this is a topic so fascinating I'd love to make its own post dedicated to it, but I want to talk about it here briefly as well because it does relate to Taki. Notably, I want to talk about the example of this in episode 5, because the framing of it felt the most deliberate there.

To set the scene, Tomori just expressed that she doesn't want to hold a concert because that'll end their band, which leaves Taki and Soyo hanging as they're unsure how to move forward from there if Tomori doesn't want to. The scene changes to Taki and Soyo, with Taki overlooking Sumimi's music video.

(The way the shots are composed makes it seem like Taki is staring at the music video, complete with the light of the scenes reflecting on her face, but when we get this zoomed out shot with Soyo in frame, it looks more like she's looking off to the side.)

As Soyo's talking about how unsure Tomori feels and how she's still thinking about CRYCHIC, Here the World is playing in the background. We can hear it pretty clearly; even more clearly than we heard it in the literal karaoke scene! The song continues until it fades out at this line:

The sudden silence almost feels deafening. Taki starts talking about how Tomori's words saved her, and how they made her feel seen. The MV is still playing in the background, we just can't see or hear it. But it comes back on screen to be a backdrop to these lines:

(Interesting how they chose this specific angle that captures the Sumimi MV in the backdrop, when they could have done a different one or turned the video off entirely since the song isn't even playing anymore. Also for the last line, Uika and Mana's silhouettes are no longer on the screen.)

What is the purpose of this? Is it to foreshadow that Sakiko would invite Uika to her band a few episodes later? Do Taki's words apply to Uika as well?

Soyo then continues on and says in order to avoid having things go south again, they need to communicate with one another. Then she says Taki needs to tell Tomori how she feels.

I think the most compelling shot in this scene is this one though.

Because 2 episodes later, this exact shot in the MV is what Sakiko scrunches her face at post-Haruhikage.

(Well, even if Taki's feelings didn't get through to Tomori, Uika did finally get through to Sakiko given she calls her immediately after this. Interesting.)

Taki is trying to express how much Tomori means to her and Sakiko is trying to get over MyGO playing Haruhikage, and there's Uika; happy, smiling, sparkling, and getting everything handed to her. It almost feels as if the MV is there to mock these characters, who are struggling so much to even keep a band together. She's an outsider who doesn't even know that Crychic has disbanded.

It's just one of those things that feels so meaningless, and yet at the same time, the Sumimi MV would not be playing during these scenes unless the writers wanted it to, for whatever reason that may be.

To wrap this post up, I want to mention that I find it very amusing how the director mentioned that Uika was actually not originally intended to be shown in a school setting (like Nyamu is), but when they were thinking about what school to put her in, they put her in the same classroom as Taki because of potential interactions between them. I am very eager to see those interactions in future content, and how Taki will react once she realizes that Uika (and Umiri) are in a band with Sakiko. It'll be interesting to see whether or not these two become proper foils to each other, as I see a lot of potential here given both of their respective relationships with our protagonists. Going back to what I said about Uika being presented to us as something Taki could aspire to be like, I actually hope it turns out to be the opposite: I hope that Taki sees Uika's relationship with Sakiko and learns what not to do with Tomori. This may just me being hopeful though (as in the Ave Mujica concerts, Oblivionis takes advantage of Doloris' dedication to her and turns her into a monster―I want to see something akin to this happen with Sakiko and Uika). We'll truly just have to see!

[sysig]

Don’t be silly! Okay, be a little silly (Patreon)

[bookshelfdreams]

hey do y'all ever think about the fact that Charles probably has told Edwin about being beaten as a child at some point during their 34 years of friendship? And that Edwin likely never found it remarkable enough to ask further questions because back when he was alive, beating children was completely normal

[sciderman]

spider-man and the fantastic four #4

[originalartblog]

what's the point of learning a new skill if I'm not going to be silly with it!!

based on @sensitiveheartless' Skk Howl's Moving Castle AU and the little fish Chuuya embroidered on Dazai's shirts! 🐟

[gideonisms]

I will admit I hate the trend towards measuring how Healthy fictional relationships are. they're not breakfast cereals! we don't need to measure the amount of fiber! even if it did matter how much fiber a fictional relationship has "healthy" is also a very general, vibes-based word for concepts that I think we probably should get more specific about

[moeblob]

Ohiwe (lady) and Ohime (man) aka the fire deity after they get punished.

Originally just "Oh", the fire deity had a bit too much fun with punishing humans and so in a means to stop them, the elder gods split them into two. So now they have to be together in order to have their "full" power but as before the split, they get restless and like to wander. So while one stays in their city, the other gets to go out and travel and see the world and check on the other deities.

Also, as a whole/singular being Oh would use they/them. After the split however, it's definitely not the same and so Ohiwe likes using female pronouns and Ohime uses male pronouns. That way when discussed as one, it's back to they. That feels best for them.

[edaworks]

I looked at my wife and said: “I know you just got here, but I’m wondering how soon we can leave.”